Not surprisingly, Columbus is loved as a detective show. The title of Peter Folk titular spill over the most severe cases of relentless precision, using his perceived inadequacy to disarm the smallest criminals. When these criminals underestimate and sin his clever for incompetence, it is incredibly satisfying to see a smart, friendly colleague as Columbus has the last laughter. In addition, it's a detective show like no one else, taking an unconventional approach to how the mystery is going. Instead of working as Whodunit, Columbus reveals the perpetrator in the first act and depends on his uncertainty How Columbus reaches the heart of the case that appears uncertain at first glance. "Only one more thing," Columbus cares for him, while they die every aspect of the case until the truth is revealed as ordinary as the day.

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The ABC series, which was released in 1968 at the NBC, begins by setting an incredibly high standard. The premiere of the series, titled "Murder from the Book" was not directed by anyone other than Steven Spielbergwho inadvertently started with a cultural phenomenon with engraving "Columbus" as a series of detectives that must be seen, cool-like-dump. This feeling has consistently persisted over the years, as Columbus is still widely loved for its timeless treatment of tropical genres, which can be examined and reinvested through the development of lenses in our time. The general excellence of the show aside, it is worth noting that Spielberg was not the only director of the big shot, who stabbed one of his episodes. Athonatan Dem and Patrick McGohan also directed episodes of the show, while the likes of Vincent McViti ("untouchable", "Gunsmoke") often carried the director's hat to direct the story into intriguing directions.

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Given the prestige associated with a series known for its incredibly dynamic storytelling stories, Brian De Palma was involved in writing an episode scenario for Columbus at one point. Unfortunately, De Palma's script has never seen the light of day, and we have never witnessed this episodic premise that unfolds at any capacity. What went wrong here?

The year was 1973. De Palma has just switched to complete features after making two significant documentaries (which used genre-making use of perspective and split-screen) and moved to Hollywood to make more films. Orson Veles-Starvaza "Meet Your Rabbit" was released for a year, receiving mixed views on its enhanced, uneven approach to its comic premise. After filling a string of independent films (Including ultra -violent, voyeurist "sisters" since 1972 in 1972.

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Titled "Shooting Script", the episode was supposed to revolve around Quentin Lee, a producer of a crime documentary, whose obsession with the perfect murder was brought to the extreme. Quentin reasons that the concept of perfect crime is motionless, which in itself is contradictory, because even the most profitable killings of murder are motivated by a selfish desire. In the pursuit of nuance, Quentin is fascinated by the subtlety of the motive and he decided to take it on himself to create such a scenario from scratch. The inevitable turnaround (for Quentin, not us) is that he underestimates Columbus like any other criminal and unintentionally includes him in the documentary without predicting the degree of this sinner.

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Now, such a story could really bloom in De Palma's capable hands, but we were robbed of an exciting episode due to factors that were not over one's control. According to ColumbophilThe writer's strike delivered a production for season 3 of the show, which led to delayed schedules and re -associated budgets, causing a sudden rush when things returned to the initial stage after a while. Although it is difficult to point out the exact cause, De Palma's scenario may be rejected during this time of taxation, when only two episodes were completed before the scheduled broadcast of the third season of network television.

It is interesting to note that De Palma has expressed dissatisfaction with the television as a medium over the years, finding mixing in the studio/micro -management incredibly frustrating. Perhaps that was De Palma's innate advantage for the film that made fate skipped his Columbus script. Or maybe making art is a labor -intensive but arbitrary process that often depends on happiness, where it simply has to be there in the right place and at the right time.